Without today's supremely talented industry professional, a lot of your favorite Hollywood stars would be walking around with far less clothing, and though that sounds awesome, trust me, the films you love are much better with the addition of her beautiful handiwork. Please, take a few moments to absorb the words of a specialty costume maker, who has worked on such films as X-Men: The Last Stand, Doom, The Cat in the Hat, such programs as Crank Yankers and even did some work on those cool, live action Assassin's Creed II shorts you all love so much, Simone Williams.
What inspired you to become a specialty costume maker?
Everything good in the 70s and 80s. Star Wars, KISS, the old Universal Monsters, Alice Cooper, Bladerunner, MTV and music videos. I never admitted I listened to Duran Duran, but I loved their look and their videos. Even The Police had a costume designer from The Royal Shakespeare Company make their costumes once things started going downhill towards the end of the Synchronicity Tour. Everything I was absorbing inspired me to be a creative person. I was always a crafty kid. I had been sewing and crocheting since I was little. I started college in Art and Graphic Design, but that soon changed.
How did you get your start?
While getting that Art degree, I got a work study scholarship in Photography for the Theatre Dept. That pretty much blew it open wide for me. In costume design, it's expected that you draw and you're an artist, so I started living a double life of going to art classes, then doing a lot of uncredited theatre work. People encouraged me to go to grad school for costume design.
Was it tough breaking into the business?
I think sticking with it and not giving up takes more fortitude than people give it credit. Ten years ago, I had a few credit cards with sweet interest rates, so I was able to get by even when I shouldn't have been. It's the Robert Townshend method of paying for your dream with your credit cards. You certainly can't do that nowadays!
How does one in your profession get gigs?
I don't know, except to say that, "It's Who You Know" is not a bad thing and very necessary. One of my professors from grad school had worked with The Muppets and Sesame Street during his breaks in semesters. A contact of his at Jim Henson's Creature Shop went to him when they needed some referrals for people in L.A. who could do good work. It seems that Tim Burton's Planet of the Apes had sucked up a lot of the talent pool. So, I was one of the people recommended by my professor to work on The Country Bears, and that was the gig that helped me break into creature effects and specialty costumes. I think there's always forces beyond your control, no matter how much you think you're in control and don't get it twisted, you don't get a full-time, permanent job doing these gigs. Very few people do. You work the duration of the build, and sometimes go on-set with the suits or puppets.
What are the nerdiest projects that you've worked on?
I am especially proud to have met Doug Jones. All film and creature geeks should know who he is: Abe Sapien, the Silver Surfer, a few creatures from Pan's Labyrinth. He's a first rate actor and is stellar out of the rubber and latex. I was able to work on a component for a Sewage Creature he played in Doom. A couple of months ago I made a hood for a live-action Ezio of Assassin's Creed II. I'm not sure where the commercials are being shown. I've seen one commercial on TV, but they've definitely cg'd over the hood. His costume is incredible, but I didn't work on it. I was brought in last minute to totally construct the hood for the costume designer, using pictures of Ezio and the costume designer's direction. I worked on 3 or 4 seasons of Crank Yankers as a puppet costumer. Its first season was in New York. This is the best and funnest gig I've ever done. I learned the most, got the most confidence in my abilities, and worked with people who are my best friends to this day.
What are you working on now?
Alterations on clothes for a lovely fetish model, patterns for a new line for steampunk clothiers Clockwork Couture, stock corsets to sell quickly for [the holidays], and various custom corset orders. Alas, I am not working on a film or TV show right now. This is all work for my small business, Exquisite Restraint. I can design, I can construct, and I can interpret your designs.
What's the best/ worst thing about working in the industry?
The best thing is just knowing I'm part of a world that influenced me so much! I stay and watch the end credits of every movie, because I know I'll see someone I know, even if it's just a slight acquaintance. My list of credits is pretty slim, but I'm very happy with the things I've done and the people I've met. I'm a fangirl for a lot of unsung people that the mainstream doesn't know. The worst thing is, you're supposed to be contacting people as soon as you're laid off from a gig (remember, "It's Who You Know"), but I'm so lame at networking for Simone, but seem to be fine doing it for Exquisite Restraint.
Do you have any advice for people who want to do what you do for a living?
Um, be a doctor or a lawyer? No, just know that you have to be passionate about getting up every morning and doing what you love. It sounds cliched, but it's true. If you're the kind of person who needs a certain kind of car, or buy a house, or eat out constantly, get a nice steady 9 to 5'er. If you're a creative soul with a DIY bent, go for it.
What's it like working on big projects, knowing that your stuff's going to be seen by millions?
It's a thrill, but I'm a very tiny cog in a big wheel. I'm not joking when I tell you I made thigh muscles for Mike Meyers' Cat in the Hat suits, and then sewed on hundreds of snaps. I sanded Will Smith's tennis shoes to make them old for Hancock, which was actually a relaxing job! Sometimes you're just paying the bills, but the pay-off is the great shops and great people you get to work with. Even if I'm not working in a creature shop, I keep up with who's building what and make sure I go see movies my friends and family worked on.
So, you also do costuming outside of the industry. Tell us about that.
I've been working on my own creative outlets, so I don't get all cynical when I'm sewing on hundreds of snaps. With Exquisite Restraint, I hope to be a small shop in Los Angeles that's available for more than just corsets: specialty garments, puppet clothing, pattern and sample making. Enough people do cosplay and burlesque that they need costumes, or at least elements of their costumes made that they can't make... People can come to Exquisite Restraint for the little things, not just the big things.
What is it about corsets that appeal to you?
It's an item of clothing that has so many signifiers: it's a sexual item, it's a political item, it's a fetish item, it's a status and class item. Corsets have such a rich history, and a controversial history. They used to be an item for women of means and money, but we've democratized everything, so anyone can wear a corset. They can be functional, or they can be totally frivolous. I think of them like handbags or beautiful hats, something you may want, but you have to find wears to integrate it into your life and wardrobe. If you mention corsets, everyone has an opinion or questions. I think I could study and make corsets the rest of my life and not get bored. The sewing gets boring, but the smile on people's faces when they put on a corset is worth it. Also, I get to meet the coolest people by getting out to do bazaars or cons with my corsets (people who've written books I like, models from the web, people in the adult industry). More fun than a Ren Faire!
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